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Acknowledgements

This is always a very difficult part because so many people have helped in so many different ways. Nonetheless, there are those that should be recognized for the critical help they have provided.


I wish to thank the Society of Antiquaries of Newcastle upon Tyne for the permission to publish; I would also want to express my sincere appreciation to the Folk Archive Resource North East (FARNE) for the freely and publicly available, digitalized copy of “Peacock’s Tunes”, easily accessible at their web site, full of precious historical and musicological commentaries.


I am indebted to Richard Heard and Francis Wood, who wrote the foreword to this Urtext , proofread the drafts, provided critical comments, many great ideas, and invaluable friendship.


My profound respect goes to the Northumbrian Pipers’ Society, in particular to Julia and Barry Say, for the 1999 Peacock’s Tunes edition.


It is a pleasure to pay tribute to Colin Ross, one of the world’s foremost maker of Northumberland smallpipes, actively involved in the promotion of the traditional music of North East England for nearly 60 years.


I convey special aknowledgment to Matt Seattle, for its contribution to the research of all alternative tune titles indicated in the theme code index of this Urtext ; he is the author of commentaries and suggested corrections on FARNE. This book couldn’t have been made with out him.


I’m deeply grateful to Bathsheba Grossman, the artist creator of the mathematical sculpture “Universal Clef ” that appears in the frontispiece. This sculpture is a sign of order and harmony for every note and instrument, voice and music. It is a single ribbon that follows itself through space, and due to its unobstructed length it rings like a bell, low and long. She kindly gaves me the permission to use it as logo.


This Urtext is the result of all their passions and talents.


Valerio